Fauvism

Between 1901 and 1906, several comprehensive exhibitions were held in Paris,
making the work of
Vincent van Gogh,
Paul Gauguin, and
Paul Cézanne
widely accessible for the first time. For the painters who saw the
achievements of these great artists, the effect was one of liberation
and they began to experiment with radical new styles.
Fauvism
was the first movement of this modern period, in which color ruled supreme.

The advent of Modernism if often dated by the appearance of the Fauves
in Paris at the Salon d'Automne in 1905. Their style of painting, using
non-naturalistic colors, was one of the first avant-garde developments
in European art. They greatly admired van Gogh, who said of his own work:
``Instead of trying to render what I see before me, I use color in a
completely arbitrary way to express myself powerfully''.
The Fauvists carried this idea further, translating their feelings into
color with a rough, almost clumsy style.
Matisse
was a dominant figure in the movement; other Fauvists included
Vlaminck,
Derain,
Marquet, and Rouault. However, they did not form a cohesive group and
by 1908 a number of painters had seceded to
Cubism.

Fauvism was a short-lived movement, lasting only as long as its
originator, Henri Matisse (1869-1954), fought to find the artistic
freedom he needed. Matisse had to make color serve his art, rather as
Gauguin needed to paint the sand pink to express an emotion.
The Fauvists believed absolutely in color as an emotional force.
With Matisse and his friends, Maurice de Vlaminck (1876-1958) and
André Derain (1880-1954), color lost its descriptive qualities and
became luminous, creating light rather than imitating it. They astonished
viewers at the 1905 Salon d'Automne: the art critic Louis Vauxcelles saw
their bold paintings surrounding a conventional sculpture of a young boy,
and remarked that it was like a Donatello ``parmi les fauves'' (among the
wild beasts). The painterly freedom of the Fauves and their expressive use
of color gave splendid proof of their intelligent study of van Gogh's art.
But their art seemed brasher than anything seen before.

During its brief flourishing, Fauvism had some notable adherents, including
Rouault, Dufy, and
Braque.
Vlaminck had a touch of his internal moods: even if
The River (c. 1910; 60 x 73 cm (23 1/2 x 28 3/4 in))
looks at peace, we feel a storm is coming. A self-professed ``primitive'',
he ignored the wealth of art in the Louvre, preferring to collect the
African masks that became so important to early 20th-century art.

Derain also showed a primitive wildness in his Fauve period--
Charing Cross Bridge (1906; 80 x 100 cm (32 x 39 in))
bestrides a strangely tropical London-- though as he aged he quenched
his fire to a classic calm. He shared a studio with Vlaminck for a while
and The River and Charing Cross Bridge seem
to share a vibrant power: both reveal an unselfconscious use of color and
shape, a delight in the sheer patterning of things. This may not be
profound art but it does give visual pleasure.